Search results for ""Author Sir Andrew Motion""

Randomly Moving Particles is built from two long poems that form its opening and close, connected by three shorter pieces. The title poem, in a kaleidoscope of compelling scenes, engages with subjects that include migration, placement, loss, space exploration and current British and American politics. It is a clarifying action and reaction between terra and solar system, mundanity and possibility, taking us from the grit of road surfaces to the distant glimpses of satellites. The final poem, 'How Do the Dead Walk', combines mythic reach with acute observation of the familiar, in order to address issues of contemporary violence. It is altogether more dreamlike, even in its tangibly military moments, grasping as it does at phantoms and intermediate plains. Andrew Motion's expansive new poetry collection is direct in its emotional appeal, ambitious in its scope, all the while retaining the cinematic vision and startling expression that so freshly lit the lines of his last, Essex Clay.

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'A wonderful read.' Irish Times'Sad, gripping and powerful.' Margaret Drabble'Superbly clear, intimate and evocative.' New York TimesFrom the former poet laureate, Andrew Motion, In the Blood is an unforgettable evocation of family, school and country life. By turns funny, heartbreaking and elegiac, it is also a deeply affectionate portrait of the bond between mother and son.'Brilliantly achieved and novel-like . . . Vivid and poignant.' Guardian'The most moving and exquisitely written account of childhood loss I have ever read.' Independent on Sunday'Deeply engaging. The innocence and the hardness of childhood are beautifully put together . . . A strikingly good book, framed by tragedy but full of intense life.' Helen Dunmore'Every word, sentence and chapter, one drinks down with a joy because it is so artfully and beautifully composed.' Irish Times

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The second half of Andrew Motion's new collection returns to the sequence begun in Laurels and Donkeys, completing a body of work recognised by the Wilfred Owen Poetry Award in 2014. These meditations on combat and the people caught up in it look back to conflicts of the past: to the 'war to end all wars'; to Rupert Brooke on his final journey; to Wilfred Owen at Craiglockhart War Hospital; to Archduke Franz Ferdinand on the day of his fatal shooting. But Motion also depicts the ravages of modern warfare through reported speech, redacted documents, and vivid evocations of place, his plain understatement bringing the magnitude of war home to our own shores. These poems are moving and measured, delicate and clear-eyed, and bear witness to the futility of war and the suffering of those left behind. Elsewhere we find biographies in miniature, dreams and visions, family histories, which in their range of forms and voices consider questions of identity, and character. These are poems of remembrance in which Motion's war poems, all in their own way elegies, find a natural partner. Peace Talks is a wise and compassionate work.

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Andrew Motion has been close to the centres of British poetry for over fifty years.Sleeping on Islands is his clear-sighted and open-hearted account of this remarkable career. It takes us from scenes of a teenage home-life coloured by tragedy and silence - where writing was as much a refuge as an assertion - to the excruciations of early public appearances, to the decade he spent as Poet Laureate, promoting and ensuring the central place of poetry in a nation's character. Along the way, we hear about the risks and sacrifices involved, as well as the difficulties of sustaining a commitment to writing within a helix of other obligations. We see in close-up the significance of Motion's formative relationship with W. H. Auden and his subsequent friendship with Philip Larkin. And during his time as Laureate, we witness memorable encounters with Royalty and Prime Ministers, and discover the costs and complications that accompany such a high-profile role.By turns moving and humorous, this is the intimate story of a rare poetic life. And it proves Motion's contention that the poems we most enjoy 'are not weird visitations, or ornaments stuck on the surface of life, but part of life's daily bread'.

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Love in a Life, Andrew Motion's sixth volume of poetry, marks a conspicuous development in the work of the founder of the modern Narrative School. Directness and a new colloquialism are wedded to Motion's distinctive obliquities in a volume where the idea of marriage governs the architecture of each poem and the book as a whole. The stories of two marriages gradually emerge, like chapters in a narrative, and are themselves bound to more public material, so that each lends profound resonances to the other.

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In this series, a contemporary poet selects and introduces a poet of the past. By their choice of poems and by the personal and critical reactions they express in their prefaces, the editors offer insights into their own work as well as providing an accessible and passionate introduction to the most important poets in our literature.William Barnes was born in 1801 near Sturminster Newton in Dorset, of a farming family. He learned Greek, Latin and music, taught himself wood engraving, and in 1823 became a schoolmaster in Mere. He was deply interested in grammar and language, and waged a lifelong campaign to rid English of classical and foreign influences. Among his best-known books of poetry are Poems of Rural Life in the Dorset Dialect (1844) and Homely Rhymes (1859. His work has often been praised for its evocations of Dorset life, landscape and customs; he also wrote political poems of great power and was a master elegist. Barnes died in 1886.

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First published in 1997, Keats was the first major biography of this tragic hero of Romanticism for some thirty years, and it differs from its predecessors in important respects. The outline of the story is well known - has become, in fact, the stuff of legend: the archetypal life of the tortured genius, critically spurned and dying young. What Andrew Motion brings to bear on the subject is a deep understanding of how Keats fitted into the intellectual and political life of his time. Important friendships with such anti-establishment figures as William Hazlitt and Leigh Hunt are given their full due, and the closeness of his own spirit, as expressed in his poems, to the ferment all around is made clear. Many significant facts about Keats's schooldays and medical training, in particular, enrich the picture. Keats emerges as a more political figure than he is usually portrayed, but his personal sufferings, too, come into closer focus. Most importantly, Andrew Motion - himself a distinguished poet and former poet laureate - demonstrates how the poems continue to exert their power. 'A definitive life of a great poet, and one of the finest biographies of the decade.' New Statesman

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Randomly Moving Particles is built from two long poems that form its opening and close, connected by three shorter pieces. The title poem, in a kaleidoscope of compelling scenes, engages with subjects that include migration, placement, loss, space exploration and current British and American politics. It is a clarifying action and reaction between terra and solar system, mundanity and possibility, taking us from the grit of road surfaces to the distant glimpses of satellites. The final poem, 'How Do the Dead Walk', combines mythic reach with acute observation of the familiar, in order to address issues of contemporary violence. It is altogether more dreamlike, even in its tangibly military moments, grasping as it does at phantoms and intermediate plains. Andrew Motion's expansive new poetry collection is direct in its emotional appeal, ambitious in its scope, all the while retaining the cinematic vision and startling expression that so freshly lit the lines of his last, Essex Clay.

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This comprehensive edition draws on Andrew Motion's distinguished body of work from Secret Narratives (1983) to his most recent volume, Randomly Moving Particles (2020), and includes a substantial selection of new and previously uncollected poems.Certain preoccupations unite the book, which from first to last is particularly concerned with the ways in which our lives are shaped by loss - by wars, by accidents, by the erosion of time and by grief. Motion is an energetic and protean spirit, a listener and a watcher, and while his poems mostly develop his themes by using intimate and lyric forms, they also sometimes adapt from direct speech and documentary sources. In every case, and especially movingly in the long poem 'Essex Clay', Motion uses acts of personal witness to reflect the vulnerabilities of the world at large.These are extraordinary poems of and for our times, enlarging our sense of the cost of human experience even as they refine those sensibilities that keep us most alive and engaged with the present. 'Andrew Motion is one of the essential English poets of our time.' John Burnside'Motion's greatest and most distinctive gift . . . is to look squarely at the world and describe it with a plain and unsentimental eloquence that makes worldly value seem all the more questionable.' Bernard O'Donoghue, Independent on Sunday

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Andrew Motion's new book opens with a sequence of war poems (first published as the pamphlet Laurels and Donkeys, on Armstice Day 2010), drawing on soldiers' experiences of war from 1914 until today - beginning with a story about Siegfried Sassoon and moving via World War Two and Korea to the recent conflicts in Iraq and Afghanistan. Many of the poems are in the voices of combatants, others are based on memories of the poet's father, who landed at D-day and fought in France and Germany. The poems combine understatement with a clear-eyed and unswerving candour.The Customs House has other rooms: a group of topographies, mapping moments in a marriage against the contingencies of place and family history; and several 'found poems', in which the poet collaborates with his source, mixing what is there already with what is about to be there: whether a remarkable sonnet sequence on the last days of the Baroque genius Francesco Borromini, or in other poems a richly imagined extrapolation from the silent premises of a painting.

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Andrew Motion's new collection (his first since Public Property in 2002) offers a ground-breaking variety of lyrics, love poems and elegies, in which private domains of feeling infer other lives and a shared humanity - exploring how people cope with threats to and in the world around them, as soldiers, lovers, artists, writers and citizens. The conversational tone and formal variety of these poems both shapes and diversifies their response to loss and its inevitabilities. Here are poems about the last surviving veteran of the trenches; poems which work with found materials drawn from the contiguous worlds of prose; poems which elicit the parallel lives glimpsed in paintings, or the other lives of birds, trees and weather (as of an ordinariness just out of reach). An unemphatic evenness of handling, in the detailing of ordinary destinies, alternates with capacious panoramas of longing and summation, and the collection ends with a remarkable group of directly autobiographical poems about the life and times of the poet's father.

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What is the truth about the mysterious Dr Cake? Why, at his funeral, is there no name on the brass plate so ostentatiously screwed into his coffin-lid? Andrew Motion, Poet Laureate, has written a tantalising novel about poets and their afterlife.

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Andrew Motion has been close to the centres of British poetry for over fifty years.Sleeping on Islands is his clear-sighted and open-hearted account of this remarkable career. It takes us from scenes of a teenage home-life coloured by tragedy and silence where writing was as much a refuge as an assertion to the excruciations of early public appearances, to the decade he spent as Poet Laureate, promoting and ensuring the central place of poetry in a nation's character. Along the way, we hear about the risks and sacrifices involved, as well as the difficulties of sustaining a commitment to writing within a helix of other obligations. We see in close-up the significance of Motion's formative relationship with W. H. Auden and his subsequent friendship with Philip Larkin. And during his time as Laureate, we witness memorable encounters with Royalty and Prime Ministers, and discover the costs and complications that accompany such a high-profile role.

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Public Property was Andrew Motion's first collection of poetry after being appointed Poet Laureate. In it, he negotiates the very space of poetry, moving between private and public realms, pondering each from the other's borders. In the opening series of idylls he conjures the expeditionary narratives of a rural childhood, in scenes as precisely remembered as they are irretrievable. Elsewhere he reconsiders moments from the Victorian past from reticent and surprising angles, and elsewhere again he tackles distinctly contemporary themes and situations. The final section of the book contains a number of elegies and love poems, written in a variety of lyric forms, which provoke concerns that are among the most critical in poetry: What is public art? To whom do our most private sentiments belong?

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Andrew Motion's prose memoir In the Blood (2006) was widely acclaimed, praised as an act of magical retrieval and a hymn to familial love. Now, over a decade later and after moving to live and work in the United States, Motion looks back once more to recreate a stunning biographical sequel - but this time in verse. Essex Clay rekindles, expands and gives a tragic resonance to subjects that have haunted the poet throughout his writing life. In the first part, he tells the story of his mother's riding accident, long unconsciousness and slow death; in the second, he remembers the end of his father's life; and in the third, he describes an encounter that deepens the poem's tangled themes of loss and memory and retrieval. Although the prevailing mood of the poem has a sweeping Tennysonian melancholy, its wealth of physical details and its narrative momentum make it as compelling as a fast-paced novel: a settling of accounts which admits that final resolutions are impossible.

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A rich spectrum of poetic voices - ancient and modern, new and familiar - arranged concentrically under different headings: Self, Home, Town, Work, Land, Love, Travel, War, Belief and Space. Each section seeks out resemblances and echoes elsewhere, creating the impression of an expanding universe, from Wallace Stevens to Stevie Smith, Joseph Brodsky to Jo Shapcott, Bob Dylan to Dylan Thomas, Ben Jonson to Benjamin Zephaniah...

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This volume brings together two long poems. 'Lines of Desire' tells the story of an individual in crisis, under pressure from past and present events. 'Joe Soap' combines narrative and lyric forms to trace a historical pattern reaching from the First World War to contemporary apocalypse. Both are remarkable additions to an important body of work.

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Salt Water is Andrew Motion's most ambitious collection, yet also his most accessible. The first part refines the narrative and lyric skills for which he is well-known, combining intense personal concerns with themes which are more expansive and social. Family and loved ones appear in the company of historical and legendary figures; private dramas raise large general issues. But there is concentration as well as diversity. From the Orford Merman of the title poem, to an elegy written for a friend who died on the Marchioness, to the vivid prose meditation of the second part, written when Andrew Motion retraced the voyage that John Keats made by sea from London to Naples in the autumn of 1820, the book insistently and brilliantly elaborates images of water. It is the element which facilitates a rich interweaving of past and present, of re-enacted experience and the poignant suspension of the lived-in moment.

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John Keats (1795-1821) abandoned a career in medicine to write poetry, until his life was cut tragically short from tuberculosis at the age of twenty-five. By that time, he had published three volumes of verse to an unreceptive critical response. But as the nineteenth century wore on Keats's reputation would build, and today he is recognised as one of the greatest of the Romantic poets.

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In this series, a contemporary poet selects and introduces a poet of the past. By their choice of poems and by the personal and critical reactions they express in their prefaces, the editors offer insights into their own work as well as providing an accessible and passionate introduction to the most important poets in our literature.A thing of beauty is a joy for ever:Its loveliness increases; it will neverPass into nothingness; but still will keepA bower quiet for us, and a sleepFull of sweet dreams, and health, and quiet breathing.-- Endymion

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